CHIODO ADRIAN, STUDIO AIR, FINAL FOLIO A+B+C by Adrian Chiodo

Adrian Chiodo 867915

studio air

adrian chiodo 867915 semester one twenty eighteen tutor: dan schulz

contents introduction

part a - conceptualisation

a1 - design futuring a2 - design computation a3 - composition generation a4 - conclusion a5 - learning outcomes a6 - appendix

09 18 26 36 38 40

Adrian Chiodo 867915

part b - criteria design b1 - research field b2 - case study 1.0 b3 - case study 2.0 b4 - technique: development b5 - technique: prototypes b6 - technique: proposal b7 - learning objectives and outcomes b8 - algorithmic sketches

46 64 74 80 88 96 116 118

part c - detailed design c1 - design concept c2 - tectonic elements and prototypes c3 - final detailed model c4 - learning objectives and outcomes 3

hi ... ciao ... bonjour ... 你好...

... I’m Adrian.

introduction

Adrian Chiodo 867915

I am in my third year of the Bachelor of Environments majoring in Architecture. Over the past few years studying this course, it has been interesting to observe and learn about the way in which digital technology influences design and construction. Whether it is the use of AutoCAD to achieve accurate measurements and construction details, Rhino to create three dimensional forms or Lumion to visually bring a proposal to life, digital technology assists greatly in gaining an overall picture of our design concepts. In terms of my own technical knowledge, I am an avid user of Photoshop and Lightroom for photographic editing and InDesign for graphic layouts. I enjoy the effectiveness of Google Sketchup for 3D modeling in combination with Lumion for realistic rendering. I frequently use AutoCAD for construction drawings and I am currently developing my skills Rhino and its plugins like Grasshopper. Digital architecture is something that interests me greatly and I admire the work of many architects that use technology in an interesting way throughout the design process. In particular, I like the work of Zaha Hadid whose iconic fluid forms are meticulously designed using digital tools. The Heydar Aliyev Centre (Baku, 2013) for example, is a Cultural Building that was designed using programs that allow the creation of curvaceous surfaces and volume forms. The use of glass fibre reinforced concrete and glass fibre reinforced polyester, made the construction of this digital design possible.1 On a smaller scale, I admire the work of the Matsys Architectural Company who created the Shellstar Pavilion (Hong Kong, 2010) which was a temporary lightweight installation that used individual cells to form its curved surface. For this project, the firm used Rhino along with Grasshopper, Kangaroo, Python and Lunchbox to create the sprawling form, and nylon, steel and PVC for its construction.2 By observing projects like these, I am looking forward to learning more about the possibilities that digital technology can offer to architecture and design throughout Studio Air.

1 Zaha Hadid Architects, ‘The Heydar Aliyev Centre’, (2013), < https://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 10th March 2018] 2 Matsys Architectural Company, ‘Shellstar Pavilion’, (2010), < http://matsysdesign. com/2013/02/27/shellstar-pavilion/> [accessed 10th March 2018]

PART A CONCEPTUALISATIO 6

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ON 7

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Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi ‘WE NEED TO DREAM NEW DREAMS FOR THE TWENTY-FIRST CENTURY...[BY USING] DESIGN AS A MEANS OF SPECULATING HOW THINGS COULD BE.” Anthony Dunne, Fiona Raby, ‘Speculative Everything: Design, Fiction and Social Dreaming’, (2013), (MIT Press) pp. 2. ____________________________________________________________________________________

With the development of digital technology in the architectural realm, the possibilities for the future of design are endless. In their article Speculative Everything: Design, Fiction and Social Dreaming, Anthony Dunne and Fiona Raby discuss the opportunity that designers have to create “possible futures” in order to solve problems and present alternate ways of doing things in the future. Through “speculative design”, designers can use technology to experiment with ideas, imaginings and beliefs in order to create “probable, plausible, possible [or] preferable” design solutions to social problems. Dunne and Raby suggest that the purpose of speculative design is not to “predict the future” but to use design as a means of opening up “all sorts of possibilities that can be discussed”.1 Their argument presents an interesting though that although the future cannot be forecast, designers can use digital technology today to put in place notions of a more desirable future.

la cittÀ nuova, antonio sant’elia (1914) Despite being an architectural precedent from history, Antonio Sant’Elia’s speculative proposal for a New City (Città Nuova) is a perfect example of Design Futuring. As a member of the Italian Futurist movement, Sant’Elia was committed to addressing the issue of bringing architecture into the future of modern technology, and he did this through designs of power stations, train stations, airports and other monumental buildings which had not yet exists in his era.2 Although they were never built, Sant’Elia’s designs were revolutionary and were considered radical at the time, however they presented future possibilities to society and the architectural realm. [Image 01]

BAY AREA CHALLENGE, BIG (2018) With a similar notion of developing a new city, Bjarke Ingles and his Denmark-based firm BIG: Bjarke Ingles Group have proposed a floating city for the Bay Area Challenge competition to address the environmental issue of global warming. The project aims to solve the problem of rising sea levels on San Francisco Bay whilst improving and maintaining the long-term health of the city, its ecological systems and current infrastructure.3 The proposal relates to future possibilities by challenging the typical notion of architectural site on land, by proposal the site to be on water. Although this project is seems futurist and is merely speculative having not been built, the proposal seems probable, plausible, possible and preferable (the four points of speculative design discussed by Dunne and Raby). [Image 02]

1 Anthony Dunne, Fiona Raby, ‘Speculative Everything: Design, Fiction and Social Dreaming’, (London: MIT Press, 2013), pp. 6. 2 Reyner Banham, ‘Theory and Design in the First Machine Age’, (London: The Architectural Press, 1960), p.127. 3 Resilient By Design: Bay Area Challenge, ‘Islais Creek: San Francisco Country: BIG + One + 8 Sherwood’, (2018) < http://www.resilientbayarea.org/islais-creek > [accessed 7th March 2018]

nisl enim blandit nunc, sed sagittis ipsum elit sed lectus. Fusce pulvinar varius iaculis. Aenean malesuada Adrian Chiodoaugue 867915vitae, scelerisque. Pellentesque lacinia ex eu faucibus volutpat. Donec vitae eros egestas, ultrices

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Image 01 - Antonio Sant’Elia, ‘Study for Power Station’, from La Città Nuova (1914), in Luciano Caramel and Alberto Longatti, ‘Antonio Sant’Elia: The Complete Works’, p. 238.

Image 02 - Resilient By Design: Bay Area Challenge, ‘Islais Creek: San Francisco Country: BIG + One + Sherwood’, (2018) < http://www.resilientbayarea.org/islais-creek > [accessed 7th March 2018]

Botanical Gardens, Melbourne, March 2018

Imagined Section

Observation 1: Bark

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Observation 2: Texture

Observation 3: Texture

Observation 4: Hole

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Observation 5: Trunk

Observation 6: Bark

c.o.l.a. m.a.g. , los angeles (2015) Baumgartner + Uriu Architecture (B+U) C.O.L.A. M.A.G is an installation by Los Angeles based design firm Baumgartner + Uriu Architecture. The installation was commissioned by the Department of Cultural Affairs at the City of Los Angeles and was completed on the 17th May 2015 with a budget of $15,000 USD. Located within the City of Los Angeles Municipal Art Gallery, the 500 square foot/16 foot tall form was created as an immersive spatial environment that the visitor can interact with. [Image 03] The theory of “architecture as an organism” was at the core of C.O.L.A. M.A.G’s design, challenging the way in which architecture can interact with its users and environment. Through the design, Baumgartner + Uriu Architecture question the boundary between the human body and the architectural object and how they interact when an immersive environment is created. Technically, the form is constructed of 233 uniquely shaped thin panels made of CNC milled polyurethane foam and heat formed thermoplastic polymer resin. These panels have been computationally constructed using a digital design program (program not specified) and together they act as a strong shell that does not require any structural elements to support it.

C.O.L.A. M.A.G is a great example of how digital technology can greatly influence design outcomes. It shows that architectural theory – in this case, the theory of “architecture as an organism”1 can be explained through digitally constructed form and realised as a built project.

Image 03 - Baumgartner + Uriu Architecture, ‘C.O.L.A. M.A.G. Installation’, (2015) <http://bplusu.com/ project/25/COLA-MAG-Installation> [accessed 10th March 2018]

Adrian Chiodo 867915

Image 03 - Baumgartner + Uriu Architecture, ‘C.O.L.A. M.A.G. Installation’, (2015) <http://bplusu.com/project/25/COLA-MAG-Installation> [accessed 10th March 2018]

Drawing upon my observational sketches undertaken at the Botanical Gardens site visit, the following lofts have been created. I have drawn upon the natural, organic forms found in trees and the textures of natire to create these forms.

Loft 2 - Bark

Loft 1 - Trunk with Hole

Loft 3 - Roots

Loft 4 - Leaf

Loft 5 - Trunk 16

Loft 6 - Natural Form

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Loft 7 - Natural Form

Loft 8 - Natural Form

Loft 10 - Natural Form

Combination of all loft forms to create singular form demonstrating soft, natural forms in a controlled, linear environment 17

A2 - design computation

Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi COMPONENT MEMBRANE’, 2007, HENSEL & MENGES: CONSTRUCTED FORM IMAGE SOURCE: HTTPS://WWW. ACHIMMENGES.NET Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 8-15. ____________________________________________________________________________________

In this era of rapid technological development, computation has become an intrinsic part of the architectural design process. Compared to many years ago when manual drawing was the sole method of design, computation has significantly affected the design process for architects. It has a significant impact on the range of geometries that can be created, benefitting the designer with a great scope for experimentation which will ultimately lead to conceivable and achievable design solutions. Not only do we see these conceivable and achievable design solutions made possible by computational design in large-scale habitable buildings, but so too do we see it in smaller scale architectural installation projects.

WETGRID, NOX ART ARCHITECTURE (1999-2000) Nox’s installation design titled WetGrid (1999-2000) was a temporary habitable structure displayed at the Musèe des Beaux-Arts, France, which used “the grid…one of the oldest tool in architecture”1 to begin the computational design process. It is interesting to reflect on the way in which the project designer Arielle Pèlenc and the Nox team worked with computational technology alongside tangible materials – Arielle says, “my design technique…has been quiet complex, a sort of hybrid of digital computing and material computing, because I wanted that transfer from computed to materialized to be as smooth as possible”.2 [Image 04]

COMPONENT MEMBRANE, HENSEL AND MENGES (2007) Similarly, Hensel and Menges’ Component Membrane (2007) for the rooftop of the Architectural Association of London demonstrates the effects of computational design in achieving functional design solutions. Steel framework and a stressed skin component combine to bring to life a complex geometry created computationally. The membrane form that acts as canopy for users of the space, has been meticulously designed and manufactured to the specifications of digital drawings. The designers of Component Membrane say the structure was “digitally simulated and tested”, and these computational results produced “all relevant data for the manufacturing and assembly of the steel structure”.3 1 Lars Spuybroek, ‘The Architecture of Continuity: Essays and Conversations’. (2008), p. 107. 2 Lars Spuybroek, ‘The Architecture of Continuity: Essays and Conversations’. (2008), p. 110. 3 Achim and Menges, (Achim Menges, 2013) <https://www.achimmenges.net/?p=4445> 18[Accessed 15th March 2018]

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Image 04 - Nox Art-Architecture, ‘WetGrid’, (1999-2000), <https://www.nox-art-architecture.com. [accessed 5th March 2018].

Image 05 - Hensel & Menges, ‘Component Membrane’, (2007), <https://www.achimmenges.net> [accessed 5th March 2018].

atmospheres: botanical gardens + ngv the natural and the contrived When comparing the atmospheres of the Botanical Gardens to the National Gallery of Victoria, a great contrast can be observed. This contrast relates to the notion of the natural and the contrived - the Botanical Gardens being composed of natural elements formed by nature, and the National Gallery of Victoria having been meticulously planned and constructed as an architectural product. The Gardens have been formed over time with minimal human interaction, whereas the spatial experience of the Gallery has been carefully curated based soley on human interaction.This contrast can be compared to aesethic paradigms of the picturesque which is based on the beauty of nature and the parametric which is based on digitially constructed forms.

Visit to Botanical Gardens - Natural forms

ngv triennial: vespers by neri oxman (2016) Neri Oxman’s body of work Vespers, is an series of colourful death masks that explore the transition between life and death. Computational design was an intrinsic part of the design process - after having been designed using computational methods, 3D printing company, Stratasys, was engaged to bring the designs to life. Each mask was formed using a Stratasys Objet500 Connex3 multi-material 3D printer, which creates 3D forms by “depositing polymer droplets in layers.”1 For the project, Oxman and her team at MIT Media Lab developed custom software that allowed them to create high-resolution and complex shapes based on a set of algorithmic data.2

1 Deezeen, ‘Neri Oxman creates 3D-printed versions of ancient death masks’, (2016), < https://www.dezeen.com/2016/11/29/ 2 neri-oxman-design-3d-printed-ancient-death-masks-vespers-collection-stratasys/> [Accessed 16th March 2018] 2 Deezeen, ‘Neri Oxman creates 3D-printed versions of ancient death masks’, (2016), < https://www.dezeen.com/2016/11/29/ neri-oxman-design-3d-printed-ancient-death-masks-vespers-collection-stratasys/> [Accessed 16th March 2018]

Adrian Chiodo 867915

Sketches and Photographs from visit to NGV Triennial

Guangzhou opera house , guangzhou (2003-2010) zaha hadid architects Guangzhou Opera House is a parametrically designed public opera house undertaken by Zaha Hadid Architects as a commission by the Guangzhou Municipal Government. The building has an aesthetic that is typically parametric, with its geometrically shaped facade and outer skin. In terms of the technology implimented to achieve the design outcome, head designer on the project Patrik Schumacher says that the design team “worked the outer crystalline form in Rhino and the inner, more complex and fluid surfaces inside the auditorium in Maya.”1 With the use of this technology, they achieved “organic forms through logarithms, through splines, blobs, NURBs, and particles organized by scripts of the dynamic systems of parametric design”.2 As a key figure in the realm of parametric modelling, Schumacher argues that parametric technology is “the great new style after modernism”, suggesting that its aesthetic is becoming “the unified style of architecture for the twenty-first century”.3

1 Architect Magazine, ‘Guangzhou, China/Zaha Hadid Architects’, (2011), < http://www. architectmagazine.com/design/buildings/guangzhou-opera-house_o> [Accessed 7th March 2018]. 2 1 Patrik Schumacher, Patrik Schumacher on Parametricism: ‘Let the style wars begin’, in Architects’ 2 Journal AJ, (2010), <https://www.architectsjournal.uk/the-critics/patrik-schumacheronparametricisim-let-the-style-wars-begin/5217211.article> [Accessed 7th March 2018].

Adrian Chiodo 867915

Image 06, 07. 08 - Zaha Hadid Architects, ‘Guangzhou Opera House’, (2003-2010) <http:// www.zaha-hadid.com/architecture/guangzhou-opera-house/> [accessed 7th March 2018]

DESIGN TASK 2.1 + DESIGN TASK 2.2 + DESIGN TASK 2.3 + DESGIN TASK 2.4

LOFT ONE DESIGN COMPUTATION 1.

2. 3.

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6. 25

DESIGN TASK 2.1 + DESIGN TASK 2.2 + DESIGN TASK 2.3 + DESGIN TASK 2.4

LOFT TWO DESIGN COMPUTATION 3. 1. 2. 26

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5. 4. 6. 27

DESIGN TASK 2.1 + DESIGN TASK 2.2 + DESIGN TASK 2.3 + DESGIN TASK 2.4

LOFT THREE DESIGN COMPUTATION 1. 2

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A3 - COMPOSITION/GENERATION

Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi “WHEN ARCHITECTS HAVE A SUFFICIENT UNDERSTANDING OF ALGORITHMIC CONCEPTS, WHEN WE NO LONGER NEED TO DISCUSS THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATION CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTURE.” Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 8-15. ____________________________________________________________________________________

With the rapid development of digital design technologies, it seems rational that there has been a fundamental shift in the way architects approach the design process. The shift from older methods of composition to the technologically advanced methods of generative design using algorithmic and parametric models, has redefined architectural practice,1 creating different and more efficient ways of achieving design solutions. Peters argues that the implementation of generative design has radically changed the way in which architectural practices operate. He informs that there are four ways in which architectural practices have implemented the rapidly evolving technology – to employ specialist computational designers, to outsource to computational consultancy companies, to fully integrate computational design into the design process and to employ hybrid software engineer/architects.2 An example of how generative design was used to achieve a design outcome can be seen in 30 Mary Street Axe in London (1997-2004) by Foster and Partners, with its parametrically designed façade. [Images 09, 10]. Similarly, WestendGate (2010) by Just/Burgedd Architects + a3lab in Frankfurt is a smaller scale project that demonstrates the outcome of parametric design exploration. [Images 11, 12] The primary advantage of generative design is that it allows for the production of variable parameters which can influence multiple design iterations. Brady Peters comments that the use of computational design in the form of algorithmic thinking, parametric modelling and scripting cultures, “can become a fundamental parameter in the creation of architectural form”and is advantageous in creating more responsive designs which allow architects to explore design options they may not have achieved otherwise.3 However in discussing the benefits of architectural computation, it is also necessary to acknowledge its disadvantages. Although parametric design processes offer meticulously calculated and aesthetically pleasing forms, it is possible that it may rob the designer of a chance to use their true creativity by generating forms independently. Professor of Architecture at Harvard University, Kostas Terzidis, suggests, “it is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination”4

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 10. 2 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 11. 3 30Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 13.

1 2

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Images 09, 10 - Foster and Partners, ‘30 Mary Street Axe’, (1997-2004), <https://www. fosterandartners.com/projects/30-st-mary-axe/> [Accessed 14th March 2018]

Image 11, 12 - Arch Daily, ‘Westend Gate/Just/Burgeff Architects + a3lab’ (2010), <https://www. archdaily.com/175519/westendgate-just-burgeff-architekten-a3lab> [accessed 14th March 2018].

national stadium, beijing (2004-2008) herzog & De meuron + ARUP The National Stadium also knows as the ‘Bird’s Nest’ is a public sports stadium located in Beijing, China built between 2004-2008. The project was a design partnership between Herzog & de Meuron, Arup Sport and the China Architecture Design and Research Group for the 2008 Summer Olympic Games held in Beijing. [Image 13] Its iconic bird-nest-like structure is made of interwoven steel columns and beams surrounding a concrete shell.1 Herzog & de Meuron states that structurally, “façade and structure are identical”.2 Structural elements support each other to form a grid form where the stairs, bowl structure and roof are all integrated. Metaphorically, the form is said to represent the natural structures of trees and roots [Image 14] with this idea being reinforced by sunken gardens, stone squares, bamboo groves and mineral hill landscapes throughout the building.3 This conceptual composition transformed into generation of form through the creation of a 3d parametric model by Gehry Technologies. Gehry Technologies worked as a parametric consultant to the design group in order to create a parametric model of the stadium’s architecture and structural systems to be used throughout the design process. For Gehry Technologies, parametric modeling was extremely effective in terms of time and ease of making the necessary changes and iterations throughout the design process. The parametric model allowed for fast development of steel design, engineering and fabrication instructions and the technology meant this could be easily updated.4 [Images 14, 15, 16, 17] Gehry Technologies states that:

“Through parametric modeling, the design, model, and drawings were revised to reflect the new strategy in less than three weeks. Parametric modeling also substantially assisted in the resolution of many other complex geometries, including the curved exit stairs between the exterior truss system and the interior concrete surfaces.” The notion of natural metaphors as well as the idea of a skin surrounding a shell are interesting concepts and techniques that would be beneficial in answering the brief presented to us in Studio Air. I will endeavour to use these ideas as a starting point to my design outcome.

1 Gehry Technologies, ‘Beijing National Stadium’, (2008), <http://www.gehrytech.com/en/projects/15/> [Accessed 15th March 2018] 2 Herzog & De Meuron,‘The National Stadium, a new kind of public space for Beijing’, (2008), <https://www.herzogdemeuron.com/index/ projects/complete-works/226-250/226-national-stadium.html> [Accessed 15th March 2018]. 3 Herzog & De Meuron,‘The National Stadium, a new kind of public space for Beijing’, (2008), <https://www.herzogdemeuron.com/index/ projects/complete-works/226-250/226-national-stadium.html> [Accessed 15th March 2018]. 4 Gehry Technologies, ‘Beijing National Stadium’, (2008), <http://www.gehrytech.com/en/projects/15/> [Accessed 15th March 2018]

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Image 13 - Archute, ‘National Stadium’, (2008) <https://www.archute.com/2015/10/10/beijing-nationalstadium-birds-nest-chinas-behemoth-of-grandeur-by-herzog-de-meuron/> [accessed 10th March 2018]

Images 14, 15, 16, 17 [L-R Above] - Gehry Technologies, Beijing National Stadium, (2008), <http://www.gehrytech.com/en/ projects/15/> [Accessed 15th March 2018]

Images 18 [Below] - Herzog & De Meuron,‘The National Stadium, a new kind of public space for Beijing’, (2008), <https://www. herzogdemeuron.com/index/projects/complete-works/226-250/226national-stadium.html> [Accessed 15th March 2018].

p&C department store, cologne (1999-2005) renzo piano building workshop The generative method of developing design concept through manual methods such as drawing and model making then subsequently refining parameters through parametric modelling is effective in form finding and generating many iterations of the same design concept. The successful use of this generative method is seen in Renzo Piano Building Workshopâ&#x20AC;&#x2122;s P&C Department Store [Image 19] which is a geometrically complex form that used parametric modelling to ensure calculated precision in the final design outcome. The design is based around a curved structural spine that is constructed of a series of arch-shaped bands and protected by a glazed surface. After generating concepts using manual methods, the designers at Renzo Piano Building Workshop transferred their ideas into a digital parametric design system where further iterations were undertaken and a final design was ultimately selected for construction.1 The generative method of developing design concept through manual methods such as drawing and model making then subsequently refining parameters through parametric modelling would be beneficial in answering the brief presented to us in Studio Air. I believe this to be an effective generative method, as manual methods allow for ease and free creativity and once a design concept has been established, digital programs can assist in further development and refinement of a final design outcome. I will endeavour to use this method throughout my design process.

1 Fondazione Renzo Piano, â&#x20AC;&#x2DC;P&C Department Storeâ&#x20AC;&#x2122;, (1999-2005) <http://www.fondazionerenzopiano.org/en/project/p-c-departmentstore/#section-models> [accessed 15th March 2018]

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Image 19 - Renzo Piano Building Workshop, ‘P&C Department Store’, (1999-2005) <http://www.rpbw.com/ project/p-and-c-department-store> [accessed 15th March 2018]

Images 21 - Fondazione Renzo Piano, ‘P&C Department Store’, (1999-2005) <http://www.fondazionerenzopiano.org/en/project/p-cdepartment-store/#section-models> [accessed 15th March 2018]

Images 22 - Fondazione Renzo Piano, ‘P&C Department Store’, (1999-2005) <http://www.fondazionerenzopiano.org/en/project/p-cdepartment-store/#section-models> [accessed 15th March 2018]

Images 20 - Renzo Piano Building Workshop, ‘P&C Department Store’, (1999-2005) <http://www.rpbw.com/project/p-and-cdepartment-store> [accessed 15th March 2018]

Images 23 - Fondazione Renzo Piano, ‘P&C Department Store’, (1999-2005) <http://www.fondazionerenzopiano.org/en/project/p-cdepartment-store/#section-models> [accessed 15th March 2018] 35

COMPOSITION | GENERATION GRIDSHELl - ‘BARK’

1. 2. 36

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3. 4.

A4 - CONCLUSION

Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi Part A has provided an array of techniques, methods and concepts that will assist in the development of a design solution to the brief. Through the introduction of Design Futuring, I have gained a clear understanding of the context in which we are designing and the possibilities that we can create throuh design for the purpose of bettering the future. Through the exploration of design precedents, the importance of Design Computation in contemporary design has been introduced as an efficient and effective method of concept generation. Finally, The range of concept of Composition/ Generation presented throughout the precedents selected have provided a wide range of techniques that can be applied in the next part of the design process. Personally, I would like to adapt the generative method observed in Renzo Piano Building Workshopâ&#x20AC;&#x2122;s design process for the P&C Department Store, which is the use of concept generation through manual methods then refining through digital platforms. In terms of initially developing a concept, I would like to emply the metaphorical framework of natural elements translated into form, that was set out by Herzog and De Meuron for the National Stadium in Beijing. Technically, I have developed my skills with the Rhino and Grasshopper software through the range of Design Tasks, and I hope to continue my learning throughout the rest of the design process. In particular, I enjoyed exploring â&#x20AC;&#x2DC;meshâ&#x20AC;&#x2122; systems as they result in interesting forms. In addition, I would like to explore more into the use of the curved lines in order to create organic shapes similar to those that were observed in the Botanical Gardens site visit. I endevour to apply the knowledge I have developed in Part A to my creative process in order to create a well-informed design solution.

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A5 - LEARNING OUTCOMES

Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi So far, Part A has exposed me the fact that there so many design possibilities that can be achieved with the use of digital technology. Before having learnt about the design capabilities of Rhino, I had never really experimented with curved or rounded forms. Working through the online tutorials and being exposed to precedents that have used Rhino or similar programs, I have learnt that curved and rounded forms can be easily achieved in order to create effective design outcomes that are aesthetically pleasing and functional. I am looking forward to furthering my skills in Rhino and Grasshopper throughout Parts B and C and carrying the knowledge I develop into my future design work.

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A6 - APPENDIX The following iterations have been produced using the voronoi trigangulation mesh to create forms using geometric patterns, which can be either added or subtracted. I find this Grasshopper function aesethically interesting and I hope to use this further in my design response exploration.

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ALGORITHMIC SKETCHES

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PART B CRITERIA DESIGN 44

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B1 - computational design research field

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PATTERNING

TESSELATION

STRIPS/FOLDING SECTIONING

GEOMETRY STRUCTURE BIOMIMICRY MATERIAL PERFORMANCE

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“PARAMETRIC MODELING OPENS NEW WINDOWS TO DESIGN. NOWHERE IS THIS MORE EVIDENT THAN WITH CURVES AND SURFACES.” Robert F. Woodbury, Rivka Oxman (ed) and Robert Oxman (ed), ‘How Designers Use Parameters’, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) p 165.8-15.

origins It can be said that geometry is present is all aspects of design. Whether it be a curved surfaced or a series of straight lines, geometry is essentially the language of architecture. In its basic definition, ‘geometry’ is “the branch of mathematics that deals with the deduction of the properties, measurement, and relationships of points, lines, angles, and figures in space from their defining conditions by means of certain assumed properties of space.” 1 It is the culimation of these elements that create the spaces and forms we inhabit and observe. Although geometric design may seem like a recent discovery due to the many precedents that have been created with contemporary computer modelling, it has in fact been used as a design approach for centuries. The arch is one of the most recognisable examples of geometry seen throughout history especially in the Classical [Image 01, Image 02] and Gothic [Image 03], [Image 04] movements. In the contemporary technological context of design, geometry such as paraboloids, minimal surfaces, geodesics, form relaxation and booleans are all possible with parametric design tools. Two recent applications of geometry in design can be seen in Lava’s Green Void [Image 05] and Matsys’ SG2012 Gridshell [Image 06]. Although both precedents are based on the process of geometry

and parametric modelling, they are inherently different in their construction and materiality - Green Void’s main construction element is a flexible surface whereas SG2012 Gridshell’s main construction element is a curved frame. These precedents will be explored further in the subsequent pages.

geometry and the natural world As well as occuring in architectural history and contemporary design, geometry is present in the natural world.Natural structures such as honeycomb, snowflakes and spiderwebs [Image 07] exhibit geometric properties like those seen in human-created structures such as points, lines, curves and angles within space.

relationship to part a Geometry relates closely to the themes of computation and parametric modelling discussed in Part A. Design technologies in the form of software such as Rhino and Grasshopper, have made it possible to explore geometry digitally to create endless possibilities for design outcomes. As Oxman and Oxman suggest, by altering “the values of parameters within a schema of relationships (a parametric schema) such as geometric relationships, a multiplicity of variable instances can be created”2

relationship to the brief The opportunity to create a variety of geometries is made possible by the use of parametric tools. In relation to the brief, the use of these parametric tools will be beneficial in achieving a final design outcome in to response to the brief for the Merri Creek site.

1 Dictionary.com, ‘Geometry’, (2018) <http://www.dictionary.com/browse/geometry> [accessed 5th April 2018] 2 Robert F. Woodbury, Rivka Oxman (ed) and Robert Oxman (ed), ‘How Designers Use Parameters’, Theories of the Digital in Architecture, (London; New York: Routledge, 2014) p. 3.

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Image 01 - Edward Wyndham Tarn, ’Gothic Arc’ in Practical geometry for the architect, engineer, surveyor and mechanic, (London: Lockwood, 1871), p. 44.

Image 03 - Fine Art America, ‘Underdrawing For Building Temporary Arch by Leonardo Da Vinci: 1452-1519’ <https://fineartamerica.com/featured/ underdrawing-for-building-temporary-arch-leonardo-davinci.html> [Accessed 18th April 2018]

Image 02 - Paul Frankl and Paul Crossley, ’Notre Dame: Interior of Nave’ in Gothic Architecture, (London: Yale University Press, 2000), p. 243.

Image 04 - Christy Anderson, ’Cortile d’Onore: 1467-72’ in Renaissance Architecture, (London: Yale University Press, 2000), p. 243.

Image 05 - LAVA, ‘Green Void’, (2008) < https://www.archdaily. com/10233/green-void-lava/1691640762_081210-green-voidbuild-up11cb> [accessed 5th April 2018]

Image 07 - 2il.org, <http://2il.org/ spider-recycle-silk/spider-web-trapfor-insects/>[Accessed 18th April 2018]

Image 06 - Matsys, ‘SG2012 Gridshell’, (2012) <http:// matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 5th April 2018]

GREEN VOID, sydney, australia, (2008) lava project descripton Green Void is an installation by Sydney/Stuttgart/Berlin based architectural firm, LAVA, located within the central atrium of Customs House Sydney. [Image 07] Whilst appearing like a solid object, the geometric strucutre is in fact soft and flexible (weighing only 40kg).1 The structure fits within the atrium, and given its lightweight nature, it stretches freely between the walls, ceiling and floor. The installation is accompanied by a soundscape designed by David Chesworth, graphic design by TOKO and 3D artwork by Peter Murphy.

computational method The design was created digitally using the computational method of parametric modelling. LAVA took inspiration from the natural structures of cells, crystals and soap bubbles and translated this into parameters for the program to work with.2 The result can be seen in the final design which is curved geometry made from a minimal surface. [Image 08] Regarding the computational method, Lava comments: “The shape of the installation was not explicitly designed but was the result of the most efficient connection of different boundaries in three-dimensional space... LAVA determined the connection points within the space and the rest was a mathematical formula with a minimal surface.” 3

construction technique The 20 metre high structure was fabricated from specially treated high-tech lightweight Nylon, which, from the final 3D model, was cut to size using computer controlled CNC (computer numeric code) material cutting and mechanical re-seaming.4 The pieces were mechanically attached to a custom designed aliminium track profiles that were suspended from the ceiling and side walls. 1 LAVA, ‘Green Void’, (2008) <https://www.l-a-v-a.net/page-15/green-void-zh-yue/> [accessed 5th April 2018] 2 LAVA, ‘Green Void’, (2008) <https://www.l-a-v-a.net/page-15/green-void-zh-yue/> [accessed 5th April 2018] 3 ArchDaily , Ethel Baraona Pohl, ‘Green Void/Lava’, (2008) <https://www.archdaily.com/10233/green-void-lava> [accessed 5th April 2018] 4 ArchDaily , Ethel Baraona Pohl, ‘Green Void/Lava’, (2008) <https://www.archdaily.com/10233/green-void-lava> [accessed 5th April 2018]

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Image 07 - LAVA, ‘Green Void’, (2008) <https://www.l-a-v-a.net/page-15/green-void-zh-yue/> [accessed 5th April 2018]

Image 08 - LAVA, ‘Green Void’, (2008) <https://www.l-a-v-a.net/page-15/green-void-zh-yue/> [accessed 5th April 2018]

sg 2012 GRIDSHELL, new york, (2012) MATSYS project descripton SG 2012 Gridshell is an installation at the Rensselaer Polytechnic Institute created by Matsys for the 2012 Smart Geometry design workshop, located in Troy, New York. [Image 09] The focus of the workshop was to challenge material potential through digital design and to understand and make use of the “acoustical, chemical, electrical, environmental, magnetic, manufacturing, mechanical, optical, radiological, sensorial, and thermal”2 properties of specific materials. The material selected for SG2012 Gridshell was wood which was bent to create the lightweight, curved-looking structure.

computational method The design was created digitally using the computational method of parametric modelling. Using parametric modelling software, a feedback loop was created between the parametric geometric model and a structural model which allowed for a the possibility of integrated geometry, structures, and material performance.3 The result of this process is the gridshell form seen in the final design. [Image 10] Regarding the computational method, the design team state: “Using parametric tools, the design was developed and analyzed to minimize material waste while maximizing its architectural presence in the space.” 4

construction technique The 11 meter x 7 meter x 4 meter structure was fabricated from wood. It is constructed from only straight wood members that are bent along geodesic lines on a relaxed surface.5 The wood members cross over eachother to create points where they can be attached with what appears to be screw fixings. The installation was installed by the team of designers over the four day workshop. 1 2 3 4 5

Smart Geometry, ‘SG2012 Troy’, (2012) <https://www.smartgeometry.org/sg2012-troy/> [accessed 12th April 2018] Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 12th April 2018] Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 12th April 2018] Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 12th April 2018] Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 12th April 2018]

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Image 09 - Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 11th April 2018]

Image 10 - Matsys, ‘SG2012 Gridshell’, (2012) <http://matsysdesign.com/2012/04/13/sg2012-gridshell/> [accessed 11th April 2018]

psuedo-code for ‘sg2012 grid shell’ by matsys I attempted the following psuedo code based on Matsys’ SG2012 Grid Shell. By looking at the structure’s geometry, I believe the following steps would may have been undertaken in order to create the final design: 1. In Rhino, curves may have been created as a starting point. These curves act as the initial input that will define the geometry, and from which the geometry can be developed. 2. From this, the curves can be altered to create dips and movement in the form using the ‘Arc’ command to create points. 3. Then, the curves may have been lofted to create a surface. The geoemtry can then be plugged into Grasshopper. The curves can then be adjusted using the ‘Geodesic’ function by refining the Grasshopper input to achieve different gridshell forms. 4. The surface and curves can then be exploded to allow separation. The surface can be removed to reveal a single skeleton and the skeleton width can be adjusted to create the look of ‘strips’. The ‘strips’ revealed by exploding the elements translate into the straight wood members that are bent, shaped and connected in the process of construction. 5. A further geometric pattern can be refined onto the gridshell form by using the ‘Geodesic’ command to create intersecting curves.

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TOP VIEW

2 SIDE VIEW

3 TOP VIEW

4 TOP VIEW

TOP VIEW

MERRI CREEK Merri Creek is a “an environmental, heritage and recreation corridor”1 which flows through Melbourne’s northern suburbs to the Yarra River. The creek and its surrounds are home to many threatened ecosystems in Australia, and this is why it has an important role to play in the preservation of nativa flora and fauna.2 The general site chosen for this project is CERES Community Environment Park which sits along the Merri Creek in East Brunswick. [Image 11] During our site visit, we researched the environmental context in which our site sits, noting that it is heavily vegetated with native trees. Given its proximity to the flowing water of the Merri Creek, the air was quite crisp and made the environment feel fresh. With the fact that we will be proposing a design for this site in mind, we noted that the site is mostly flat which would ease the construction process and stability of a structure. In addition, the site is not far from the walking bridge along the Merri Creek trail which runs below Arthurton Road. The design’s location would encourage locals who frequently utilise the trail to wonder off towards the creek and discover and explore of our design.

Given its natural context, we found the implimentation of man made walking tracks to be quite successful as they provided a way for humans to occupy and enjoy the site with little disruption to the native inhabitants. The Merri Creek Management Committee believe that the pathways provide “landscape character” and play “an important role in the park system”.3 A major concern for the site is woodland dieback and deterioration caused by birds and insects, particularly the Bell Miner bird4 and possibly ants such as the Iridomyrmex ant. This decline in the quality of trees can have a large impact on the native species that use them as their habitat. The brief to design digital habitats can be seen as a response to this concern. By creating man-made habitats for the native species, the stress on trees will decrease allowing the process of rejuvination.

We observed a few native animals such as birds, insects, and ducks who took shelter within the trees (birds), the ground (insects) and the waterway (ducks). 1 Merri Creek Management Committee,’About Merri Creek’, (2018), <https://www.mcmc.org.au/about-merri-creek> [Accessed 10th April 2018] 2 Merri Creek Management Committee,’About Merri Creek’, (2018), <https://www.mcmc.org.au/about-merri-creek> [Accessed 10th April 2018] 3 Merri Creek Management Committee,’About Merri Creek’, (2018), <https://www.mcmc.org.au/about-merri-creek> [Accessed 10th April 2018] 4 Merri Creek Management Committee,’Woodland’, (2018), <http://www.mcmc.org.au/index.php?option=com_ content&view=article&id=212&Itemid=117203/> [Accessed 10th April 2018]

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Images 11 - Site plan of selected site within the Merri Creek environment - Scale: NTS

Above Images & Right Image - Photographs from site visit to Merri Creek

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Upon visiting the Merri Creek environment and understanding the natural elements of its context, we have decided to investigate the symbiotic relationship between the Iridomyrmex ant, the Bell Minor bird and the River Red Gum tree. We selected this relationship because we observed them to be the most prominent species given our research and site visit. I have decided to look at the Iridomyrmex ant as a significant part of the relationship: The Iridomyrmex ant (also known as the Meat Ant or the Gravel Ant) [Image 12] is an Australian native ant genus from the purpureus species that is found throughout the country. In terms of their habitat, Iridomyrmex ants can be found in forests, woodlands and urban areas. They build large underground nests within soil that include a mound above ground constructed of gravel, sand and vegetation.1 These circular mounds are often located in open, sunny areas.2 [Image 13] Each nest can contain up to 64,000 ants and sometimes colonies combine their nests to create “super-nests”

Image 12 - Australian Museum, ‘Meat Ants (Iridomyrmex purpureus)’, (2018) <www.agric.wa.gov.au> [accessed 13th April 2018]

In order to survive, Iridomyrmex ants consume both plants and animals as they are omnivores. The Australian Museum suggests that the Iridomyrmex ant is “the most…ecologically important group of ants in Australia” as they contribute to mutually beneficial symbiotic relationships 4 (such as the relationship between the Iridomyrmex ant, the Bell Minor bird and the River Red Gum tree). Another such relationship is with caterpillars - caterpillars provide sugary fluids to the ants which protect the caterpillars from predators.5 The Merri Creek is an environment that the Iridomyrmex ant could live without a doubt. The treefilled location and sandy soil type would be a perfect location for colonies to construct their underground nests with above ground mounds. This location would also benefit the ants in terms of finding food as the area is filled with plant and animal sources.

Image 13 - Australian Museum, ‘Meat Ants (Iridomyrmex purpureus)’, (2018) <www.agric.wa.gov.au> [accessed 13th April 2018]

1 Australian Museum,’Meat Ant’, (2018), < https://australianmuseum.net.au/meat-ant > [Accessed 10th April 2018] 2 Department of Agriculture and Food, ‘Factsheet: Meat Ants’, (2018), < https://www.agric.wa.gov.au/sites/gateway/files/Pest%20and%20 Disease%20Information%20Service%20%28PaDIS%29%20-%20Ant%20factsheet%20-%20Meat%20ants%20%28A362020%29%20v2.pdf > [Accessed 10th April 2018] 3 Australian Museum,’Meat Ant’, (2018), < https://australianmuseum.net.au/meat-ant > [Accessed 10th April 2018] 4 Australian Museum,’Meat Ant’, (2018), < https://australianmuseum.net.au/meat-ant > [Accessed 10th April 2018] 5 Australian Museum,’Meat Ant’, (2018), < https://australianmuseum.net.au/meat-ant > [Accessed 10th April 2018]

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The animal relationship we decided to investigate is that between the Iridomyrex ant, the Bell Miner bird and the River Red Gum Tree. For this part of the project, Ariane Garay will research the Bell Miner bird, Carla Sujanto will look at the River Red Gum and I will be exploring the Iridomyrex ant, which we believe are all native species to the Merri Creek. The following diagram outlines the particular relationship between each species and identifies how the species assists eachother in maintaining their livlihoods within this natural context.

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B2 - CASE STUDY 1.0

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GREEN VOID @ customs house sydney, australia, (2008) lava The following KPI criterea will be used to assess the iterations created in the following section. These KPIS will analyse the iterations of Green Void by Lava as if it were to be constructed as an architectural form. The criterea are:

Aesthetics Is the design visually appealing?

Adaptability How adaptable is the design to further change once its constructed?

Constructability How efficent is it to construct? How many construction obstacles can be identified before the project is built.

Structural Integrity How strong is the structure in withstanding external load and its own self load.

Sustainability Are the materials used ethical and biodegradable? Could the structure be used as a habitable space within nature? 64

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ArchDaily, â&#x20AC;&#x2DC;Green Void/Lavaâ&#x20AC;&#x2122;, (2008) <https://www.archdaily.com/10233/green-void-lava> [Accessed 15th April 2018]

ARCH ITERATIONS BASED ON THE GEOMETRY OF: GREEN VOID, sydney, australia, (2008) lava diamond panels

U Value: 6 V Value: 2

U Value: 2 V Value: 2

U Value: 3 V Value: 2

U Value: 6 V Value: 3

U Value: 5 V Value: 5

U Value: 5 V Value: 1

TRIANGULAR PANELS A (TRIA)

U Value: 1 V Value: 1

U Value: 3 V Value: 2

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Note* if constructed, the surface of this architectural form would be fabricated using an environmentally sustainable, lightweight but durable material that is flexible in movement. The frame would be a durable timber construction.

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 6 V Value: 7

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 6 V Value: 2

HEXAGONAL CELLS (HEX)

U Value: 2 V Value: 1

U Value: 3 V Value: 2

U Value: 5 V Value: 1 T Value: 1

U Value: 1 V Value: 1 T Value: 2

U Value: 1 V Value: 2 T Value: 8

U Value: 3 V Value: 5 T Value: 8

SKEWED QUADS (SQUADS

U Value: 1 V Value: 2 T Value: 1

U Value: 3 V Value: 3 T Value: 4

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AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 1 V Value: 3 T Value: 3

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 2 V Value: 2 T Value: 10

diamond panels

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 2 V Value: 2

TRIANGULAR PANELS A (TRIA)

U Value: 5 V Value: 5 70

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

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HEXAGONAL CELLS (HEX)

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 1 V Value: 1 T Value: 2

SKEWED QUADS (SQUADS

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

U Value: 2 V Value: 2 T Value: 10 71

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I created this collage using this selected ‘triangular panels’ iteration. This collage explores the idea of the arch as an inhabitable space where visitors can interact with nature through the structure.

TRIANGULAR PANELS A (TRIA)

U Value: 5 V Value: 5

AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY 73

B3 - CASE STUDY 2.0

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ICD / ITKE RESEARCH PAVILION 2014-2015 @ the UNIVERSITY OF STUTTGART STUTTGART, GERMANY, (2011) ICD + itke project descripton ICD/ITKE Research Pavilion [Image 00] is an installation designed by the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) as an addition to their series of research pavilions at the University of Stuttgart.1 [Image 14] The smoothly curved geometry of this form creates a habitable space where visitors can sit and observe its internal structure. [Image 15]

computational method The design was created digitally using the computational method of parametric modelling. Having been inspired by the underwater nest construction of the water spider, the design team translated this biological process into parametres to create the final shell geometry.2 They believe that the computational form finding process for the final pavilion design: “...serves as a demonstrator for advanced computational design, simulation and manufacturing techniques” 4

construction technique With a span of 7.5m, a height of 4.1m and a weight of 260kg, the pavilion is fabricated with a fibre composite material and ETFE foil5 to create the flexbile, shell-shaped geometry. It was constructed with the use of a custom made robot tool that allowed the placement of the carbon fibers based on computer data from the parametric model.4

1 Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart.de/?p=12965> [accessed 18th April 2018] 2 ArchDaily, ‘ICD/ITKE Research Pavilion’, (2014-15) <https://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itkeuniversity-of-stuttgart> [accessed 18th April 2018] 3 Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart.de/?p=12965> [accessed 18th April 2018] 4 Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart.de/?p=12965> [accessed 18th April 2018] 5 Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart.de/?p=12965> [accessed 18th April 2018] 74

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Image 14 - Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart. de/?p=12965> [Accessed 19th April 2018]

Image 15 - Institute for Computational Design and Construction, ‘ICD/ITKE Research Pavilion’, (2014-15) <http://icd.uni-stuttgart. de/?p=12965> [Accessed 19th April 2018]

psuedo-code for ‘icd/itke pavilion’ by icd I attempted the following psuedo code based on ICD’s ICD/ITKE Pavilion. By looking at the structure’s geometry, I believe the following steps would may have been undertaken in order to create the final design: 1. In Rhino, an arch may have been created with an X coordinate point. 2. From this, two points on the X coordinate can be inserted and an arch is formed between the points. 3. Then, the lines may have been divded into points. 4. From these points, an arch may be created 5. The curves can subsequently lofted to create a surface.

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PERSPECTIVE VIEW

4 PERSPECTIVE VIEW

PERSPECTIVE VIEW 77

REVERSE ENGINEERING BASED ON THE GEOMETRY OF: ICD/ITKE PAVILION BY ICD

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B4 - TECHINQUE: DEVELOPMENT

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TRIANGULAR PANELS A (TRIA) AESTHETICS APADTABILITY CONSTRUCTABILITY STRUCTURAL INTEGRITY SUSTAINABILITY

Superkilen Copenhagen, Denmark, (2012) Topotek 1 + BIG Architects + Superflex project descripton Superkilen is an urban space that is located in Copenhagen - one of the most ethnically diverse and socially challenged neighborhoods in Denmark.1 [Image 16] The urban space has a unique design feature in that is contains a collection of objects that relate to around 60 nationalities of those living in the area. The space has come to be known as a “giant exhibition” or a “collection of global found objects”.2 “Ranging from exercise gear from muscle beach LA to sewage drains from Israel, palm trees from China and neon signs from Qatar and Russia. Each object is accompanied by a small stainless plate inlaid in the ground describing the object, what it is and where it is from.” 3

1 ArchDaily, ‘Superkilen’, (2012) <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> [accessed 18th April 2018] 2 ArchDaily, ‘Superkilen’, (2012) <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> [accessed 18th April 2018] 3 ArchDaily, ‘Superkilen’, (2012) <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> [accessed 18th April 2018]

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Image 16 - ArchDaily, ‘Superkilen’, (2012) <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> [accessed 18th April 2018]

Image 17 - ArchDaily, ‘Superkilen’, (2012) <https://www.archdaily.com/286223/superkilen-topotek-1-big-architects-superflex> [accessed 18th April 2018]

design task 2 surface geometry

graph mapper

image mapper

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B5 - TECHNIQUE: PROTOTYPES

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group memebers: â&#x20AC;&#x153;aaa atelierâ&#x20AC;? ariane garay awar edris adrian chiodo

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PROTOTYPE 1: MESH + PLASTIC

For this prototype, we used a perspex rod which was inserted through three perspex disks that had been laser cut with a hole in the centre. For our frist trial, we wrapped a black fishnet stocking around the internal structure to achieve a lightweight, curved skin. We found this material approach to be relevant to the â&#x20AC;&#x2DC;adaptabilityâ&#x20AC;&#x2122; criteria used previously for the computational iterations, as movement within the structure caused movement within the skin. For our second trial we wrapped a smaller, tighter white fishnet stocking around the internal structure which made its movement not as smooth as the first, however the design was still adaptable and flexible. Materiality such as the flexible mesh would be appropriate for our final design, however perspex may not be an appropriate or sustainable material choice given its cost and amount that would be needed. 90

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PROTOTYPE 2: paper 300gsm

Adrian Chiodo 867915 For this prototype, we created a Rhino model using curves and lofts. We generated different sized strips which we then exploded to create a file to print at the FabLab usuing the laser cutter on card. Once the strips were cut, we assembled then and constructured this model. This form demonstrates a treelike structure which assisted us in gaining a better understanding of the way in which a tree is formed. We sourced inspiration from the Green Void precedent in an attempt to understand the nature of digital curves and flexible surfaces. In terms of materiality, the card provided us the opportunity to bend and fold it, howver as a material for the built form this would not be appropriate given its delicate properties would not survive the natural elements.

PROTOTYPE 3: Polypropylene We used polypropylene and the laser cutter once again for this prototype, as we wanted to create a form that was flexible in movement and was durable despite having punctured holes in it. We found that the material was quite rigid and firm however it would not be suitable to construct the full-sized structure as this material is quite expensive to fabricate.

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B6 - TECHNIQUE: PROPOSAL

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THROUGHOUT THIS STUDIO, WE HAVE BEEN ASKING OURSELVES... In a world without trees, what might a digitally produced habitat look like? 96

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DESIGN BRIEF RECAP: + Gain an understanding of local wildlife species at Merri Creek + Design a â&#x20AC;&#x153;habitat treeâ&#x20AC;? for these animal communities at Merri Creek + Use Grasshopper to fabricate complex forms...that function as habitable spaces

MOTIVATION sentence: To create a new habitat with digital technologies for the Bell Miner BIRD and the IRIDOMYREX ant in order TO answer tHE 98

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Proposed Design

DESIGN DIRECTION: DEVELOPING A CRITERIA WITH KPIS: The KPI (Key Performance Indicators) we wish to use as a criteria for success includes: Habitability How habitable are the spaces for both the bell miner and the Turneria ant. Structural Integrity How strong is the structure in withstanding external load and its own self load. Constructability How efficent is it to construct? How many construction obstacles can be identified before the project is built. Sustainability Is the design able to sustain current animal communities as well as future ones? Are the materials used ethical and biodegradable? Aesthetics Is the design visually appealing? Will it draw locals in to explore the canopy arch of the design?

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Proposed Design

Collage Imagery of Group Proposal by Ariane Garay

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form generation: iterations Geometry and tessellation are two research fields that have their roots in the natural world As we have seen in previous precedents (Green Void, ICD/ITKE Pavilion, nature can play an important role in the theoretical development of a design concept. The conept of the skin and skeleton is one that we have been using throughout out form finding process. In the follwing iterations, geometry is used to create a frame-type/skeleton structure which is then wrapped up in a surface-type/skin structure. The following iterations were undertaken in order to explore geometry to achieve a final design:

voronoi mapping

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geometry

Iteration Imagery of Group Proposal by Ariane Garay

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iterations 1:

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iterations 2:

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iterations 3:

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selected form:

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Proposed Design

Collage Imagery of Group Proposal by Ariane Garay

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Why did you choose this version? In terms of why we chose this version - We liked the notion of a skin wrapping around a structure as it embodies the idea of a skeleton. For us the notion of the skeleton is what connects our creatures - the bird and the ant.

What were your criteria for choosing it? We studied the needs of both the bird and the ant and came to the conclusion that they both require shelter. Because of this, we wanted a design that would accommodate these needs but can also act as a pavilion-type structure to be inhabited by humans. Given the location of the site, it seems necessary for us to create a habitat for humans to enjoy too. Therefore our criteria was to create a structure that provides shelter for birds and ants and also a space for humans to visit and explore.

How does it satisfy that criteria? In order to satisfy the criteria we analysed the shelter needs of the bird and ant. We discovered that birds perch on tree branches to shelter themselves from sun, wind and predators and ants burrow in underground tunnels and underneath tree bark for the same reasons. With this in mind, we created the internal skeleton to act as a trunk with branches, and the external skin to wrap around it like bark on a tree. The structure is around 5m tall and given than it is at a human scale, we hope this will encourage humans to occupy and explore the space.

How will animals respond to the final product? The Bell Miner will be able to enter the structure through holes within the outer fibrous bark skin. They can perch on the central skeleton structure and feel protected by the skin that is wrapped around the structure externally. The ant will be able to enter the structure externally via the bark skin. They are able to seek shelter underneath the bark skin that wraps around the skeleton structure and inhabit its internal passageways. 110

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What will the project be made from? And why? How will it be held together? The central skeleton will be constructed of tough rope to create strong connection points. This material would be cost effective as well as simple to install and its toughnes will ensure the structure will maintain its strength especially in an outdoor environment. The inner rings will also be constructed of a lightweight metal such as aluminium which will ensure stability and ease of installation. These inner rings will be attached to the central skeleton via screws. The outer skin bark will be constructed of a lightweight bamboo strips which will be flexible enough to bend and mould around the skeleton and also durable for outdoor conditions. This skin will be attached to the inner rings with screws to hold it in place.

Internally how will it look? Upon entering through the arch and looking up, you would see the internal skeleton trunk and branch-type structure surrounded by large lightweight rings. You would see the inside of the outer bamboo skin where sunlight would be filtering through the gaps between each strip of timber.

How will the structure/the pieces be orientated? The structure will be orientated north for maximum light and flow of ventilation. The structure will have many gaps caused by the skeleton structure, rings and bamboo strips which will allow plenty of natural light and air to flow through.

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Whatâ&#x20AC;&#x2122;s the assembly sequence?

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The assembly sequence begins with the inner rope skeleton, followed by the steel rings, followed by the external bamboo skin.

What prevents your structure from collapsing? The sturdy central rope skeleton acts as the core structure and prevents the structure from collapsing.

How does the materials selected influence the aesthetic? The outer skin constructed of lightweight hard bamboo strips will be the most visually dominant element to the structure. The use of this lightweight timber provides a naturallooking aesthetic and will mould well with the environment. The internal rope material for the rings and skeleton provide the reassurance that the structure is stable, without appearing too visually heavy.

What machines will you need to use to assemble the structure? In order to assemble this structure, bamboo strips would need to be laser cut by a machine and the rings and skeleton would need to be fabricated off site to conform with the computer modelling in Rhino. The materials would be brought to site and constructed by hand and assisted by a small crane-type vehicle to lift the rope skeleton and rings into place.

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material study: laser cut mdf

Using MDF in place of our selected material of bamboo, we explored the way in which the laser cutting machine can create circular shapes for the ant nests. Despite not being our selected material, this material study allowed us to visualise the timber-look aesthetic we are seeking for our proposed design. This study was successful in that it provided us with an idea of the way the circular forms can be fabricated. 114

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B7 - LEARNING OBJECTIVES

Vivamus tincidunt fermentum gravida. Nullam risus tellus, varius at nisl ac, fringilla fermentum tellus. Morbi Part B has provided me and my group memebers the opportunity to work closely with Rhino and Grasshopper in order to develop a proposal for our digitally designed habitat. With reference to the Learning Outcomes of the studio, I believe the process of design throughout Part B has provided the opportunity to interrogate a brief (Objective 1), in order to develop a variety of design possibilities through visual programming, algorithmic design and parametric modelling (Objective 2). Throughout this process, I feel as though I have developed skills in threedimensional media including computational geometry, parametric modelling, analytic diagramming and digital fabrication (Objective 3). I have gained an understanding of and appreciation for the concept of â&#x20AC;&#x153;architecture and airâ&#x20AC;? through the relationship between digital and physical modelling (Objective 4). Developing the skills of promoting my ideas and making a case for my proposals is something that I have undertaken, and through this I have used critical thinking informed by contemporary architectural discourse (Objective 5). I have developed capabilities for conceptual, technical and design analyses of contemporary architectural projects (Objective 6) and I now have a sound understanding of computational geometry, data structures and types of programming (Objective 7). Finally, I have begun to develop my personal skill set of computational techniques.

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i non est ac nisl ullamcorper dapibus in eget nisl. Quisque libero turpis, tempor quis placerat nec, pre The following feedback provided as a resutlt of our interim design crit, will be addressed in the next stage of the design process: “Use 2 different systems with no relation. Internal condition with no systemic relation to outside condition. Must use the logic of your system to solve the design problems rather than arbitrary moves such as circle perforations. If it uses bamboo, use the material logic/properties of bamboo. Where was the bamboo? Where was it expressed? Create something that necessitates the logic of your algorithm so the design cannot be value managed out. Use one system to solve multiple problems. Use hierarchy as a tool to solve multiple problems. Seemed overall you attempted to ensure it was fabricable, cost effective, simple – which compromised the design potential of the project. Undermining is when you say, “It looks like it does because of the process I chose.” Which does not justify the project. A crit or client can say, well then if it’s not right don’t use that process. It’s not good enough to say, “because I was asked to, because the course said so.” You have lots of opportunity to define what the process is. It’s important to ask what choices am I making? Why am I making them? Ultimately, you control the process.” - Dan Schulz

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PART C DETAILED DESIGN 118

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Disclaimer* - the following work in Part C has been a collaborative effort between myself and my group members in our group Team Log. All work has been shared between our group members and therefore we all have the same work in each of our folios. Aside from myself, Adrian Chiodo, the group members to be credited for all work in Part C of my folio are: Ariane Garay Arwa Edrs Carla Sujanto Jacinta Chan Sabrina Widjaja Sherry Li

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C1 - DESIGN CONCEPT

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Tree rings can inform us about how the age of a tree, and the way the weather was performing throughout its lifespan. One light coloured ring plus one dark coloured ring is equivilant to one year of the tree’s life. Light coloured rings represent wood that is grown in the early ‘growing season’, while the darker rings indicate growth near the end of the season. Generally, tree rings grow wider when the weather is warm and wet, and they become thinner when the climate is cold and dry. During conditions such as drought, tree growth is limited. Using the weather data from nearby weather stations, we can observe the impact of the weather on the width of the tree’s rings. Where there is a strong correlation, the ring widths can be used to reconstruct the climate conditions for the length of the tree ring. The location of the tree also effects the growth of the tree due to its exposure to rain, for example. Given the location of the tree that we have observed, it can be estimated that one ring is formed each year. This is due to the ‘clearly marked’ seasons in the region, resulting in less variation in growth compared to those in arid areas with unevenly distributed precipitation.1

1 Springer, ‘...Insight from Tree Rings in Australia’, <https://link.springer.com/article/10.1007/s00382-009-0544-5> [Accessed 1st June 2018]

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BRIMBANK PARK SITE VISIT

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Upon visiting Brimbank park, we noticed the many different types of trees and logs that are present. We found many examples of tree rings in different sizes and shapes which we found particularly interesting, as well as many different forms of bark, sticks and sap. There were many examples of rustication and patterning in many of the logs we observed, which we found to be quite aesthetically pleasing. We believe that many of these natural examples sources from Brimbank can be used in our design process as inspiration for our final design. (See photographs from site visit on subsequent pages showing many different types of natural forms)

Atab;

Table comparing tree data to better understand the difference between different trees on site:

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We found examples of logs such as this one (left) of particular interest, as the patterning within the log shows the ring form we studied previously. When we were looking at this log, we noticed that it was the habitat of a spider who made its home within the cracks of the log. This prompted us to think about natural habitats of insects and how these habitats have been formed naturally. With this in mind, we have decided to make a spider our hypothetical client for the brief. 125

The following research contains information about spiders in general, as well as some more specific research about the wrap-around spider, which was the specific species of spider we found at our Brimbank Park site visit. In many areas of Australia, the population of spiders is threatened because their habitats are being destroyed by land clearing.1 Spiders exists in many different habitats throughout the country include in bushland, water and residential contexts, in fact, spiders can exist in almost any habitat type.2 The prefer to inhabit nooks and crevises and places that are dark. The also enjoy inhabiting trees and plants and areas that are cooler rather than warmer. The conservation of spider habitats is vital as they play an integral role in the ecosystem.3 The wrap-around spider is unique from many other spiders as it physically wraps its body around its surroundings whether it be a branch, bark or something else similar in its natural, bush habitat.4 Spiders of this species use the wrap around technique to camoflauge themselves during day light hours to protect themselves against preditors.5 It is clear to see what Brimbank Park is home to many different species of spiders, as the context is very natural with many trees and natural flora and fauna.

1 Explorit, ‘Spiders’, < http://www.explorit.org/science/spider.html> [Accessed 1st June 2018] 2 Australian Museum, ‘Spiders are Everywhere’, (2018), <https://australianmuseum.net.au/spiders-are-everywhere> [Accessed 1st June 2018] 3 Explorit, ‘Spiders’, < http://www.explorit.org/science/spider.html> [Accessed 1st June 2018] 4 What’s the Bug, ‘The Wrap-Around Spider’, <https://www.whatsthatbug.com/2009/02/26/wrap-around-spider-from-australia/> [Accessed 1st June 2018] 5 Real Monstrosities, ‘Wrap Around Spider’, <http://www.realmonstrosities.com/2013/10/wrap-around-spider.html> [Accessed 1st June 2018]

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Image Source: www.brisbaneinsects.com

Image Source: Photograph taken on site at Brimbank Park

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After our site visit, we decided to explore the way in which we could create curved, flexible forms using Rhino. We looked at the photographs we look from our site visit to Brimbank Park and focused particularly on the way bark and sticks tend to bend and disfigure with time. This process was very important in the development of our design process because it has allowed us to visualise how these natural forms can be created using technology. The below Rhino formal explorations use curved coral wall, coral root and tesselation hex cell techniques to mimic the natural forms of bark and sticks.

CURVED CORAL WALL

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CORAL ROOT

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TESSELATION - HEX CELLS

CONSTRUCTION OF THESE FORMS: After creating these forms, we began exploring how they could be constructed and materialised. We initially thought that CNC milling would be a good option for these types of forms, however we spoke to the technicians and the FabLab who reccomended that it was not appropriate as it would cost too much and take too long. After having discussions with our tutor, we decided upon a new idea for forming our log-shape through layers of timber that could be laser cut or sanded to size. 129

As we agreed at the site visit, the hypothetical client for our man-made habitat is a spider. We chose this insect as we observed a particular species of spider crawling in and out of this tree long Iimage below) at Brimbank Park and we discussed how it has chosen this natural form to inhabit. Although we understand that we cannot make a spider inhabit out man-made habitat, we can design a form in such as way that it mimics its natural habitat. In order to do this, we will analyse the properties of the log (as we have started to do during the prototype process), and attempt to understand the process of decay that creates the natural forms which attract spiders and other insects. Our design concept is to create a component that is essentially an â&#x20AC;&#x2DC;unrolled logâ&#x20AC;&#x2122; that mimics the jaggered panels of its internal decaying tree rings. By doing this, we aim to create a habitable internal space that could be used by a spider.

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Design Concept: A component

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Although our design concept is to be a hypothetical habitat for a spider, we would like to expand its use by labelling it as a â&#x20AC;&#x2DC;componentâ&#x20AC;&#x2122;. By doing this, our final form can be used not only as a spiderâ&#x20AC;&#x2122;s habitat, but has the potential to be functional as a seat or as a facade/wall system which can be inhabitated by other land/air insects. Important Considerations: - Our component can stand alone or can be used in conjunction with a secondary structure. - The structure can be an underlying system of a grid shell or other system. - Rustication will be used as a technique, and this can be applied using the CNC miller or laser cutting processes to create perforations, or sand blasting whole panels of timber.

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C2 - techtonic elements and prototypes

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After our discussions with the FabLab and our tutor, we decided to take some of the elements that we created from our Rhino modelling in the form finding process, and from we observed from tree logs, and explore the ways in which we could emulate these forms with man-made materials. We created some prototypes from timber and wood, using laser cutting and kerfing techniques. We decided to go with the kerfing technique because we found the “Kerfing Test Pattern” when researching timber construction. We sourced the data for this test in order to create “superflexible laser cute plywood” from the koFAKTOR Lab website http://lab.kofaktor.hr/portfolio/superfleksibilna-sperploca/. Below Image: Kerfing pattern sourced from koFAKTOR Lab website: http://lab.kofaktor.hr/portfolio/ superfleksibilna-sperploca/

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Above Image: We used this tree that we observed from the site visit as inspiration for our intended outcome from the kerning experiment. We particularly liked the smooth, flexible curves of the natural tree trunk.

kerfing prototype OUTCOMES

To do the test, we used MDF board which was laser cut with the koFAKTOR Lab kerfing pattern. We found this process to be very successful in producing flexible timber (which would otherwise be impossible). The material was very flexible and created log-like forms when bent and shaped. 135

We continued our material exploration using MDF board and the CNC milling technique. Although we were previously advised by the FabLab that this technique would be too expensive and take too long for the forms we had oroginally designed, we decided to create new forms that would be more cost and time effective. We created forms that were different to our previous explorations with curved, long solid forms. We instead used Grasshopper to create patterns (that could be formed in nature) with techniques such as ‘metaball’ and ‘image sampling’, and then overlayed these patterns to achieve more chaotic patterns. These patterns are intended to be overlapped when milled to create different levels and textures. The images to the left show our Grasshopper patterns which have been overlayed:

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The following images show our outcomes of the CNC milling process with MDF board. We created a total of eight panels shaped in an octagon form which patterns where milled onto the faces and backs.We then overlapped the panels and attached them together to create depth and formal interest. These outcomes were desgined with the sliced surfaces of tree logs from our visit in mind, in particular the idea of texture and rustication which can be seen in many of our tree photographs:

cnc prototype OUTCOMES

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After our CNC milling exploration and our interest in the rustication effect, we furthered our exploration through image sampling. We sampled images of logs to create natural-looking patterns, and then zoomed the images to achieve different patterns from these with different hole sizes. We then chose the X,Z,Y patterns below for further development. We overlayed the patterns to alter the look, depth and overall appearnce:

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We broke our Team Log group up into two sub groups to develop patterns to be laser cut in order to create more prototypes. Group 3: Adrian, Ariane & Arwa Group 4: Jacinta, Sabrina & Carla

GROUP 3

GROUP4

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rustication OUTCOMES We selected some of our development patterns and had them laser-cut onto MDF to create small panels. With the laser cut panels, we overlapped them to create depth and movement within the object. By overlapping the panels of similar patterning, we can see that this process and materiality can produce tree-like qualities.

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WEEK 8 CNC CONSULTATION ISSUES WITH THE FORM • The current form would be too expensive to fabricate using a CNC miller in addition to being time consuming. • Fanbricating it using CNC at 1:1 with a smiliar form to Mark Forne’s work could mean that the structure would also be too heavy. • High embodied energy with the testing portion alone • We’re looking at a cost of around $2000-3000. How could you fabricate the form while reducing time and cost? • You could section the whole form horizontally, and lay the sections out on a board. This is not the most efficient way because you can not fit many layers on the board (even if you bring the scale down) and would therefore still be highly costly. • I more feasable option would be to create a waffle grid structure. You can fit quite a bit on one sheet, which would reduce the cost and time. However, no experimentation or research has been done by the group on waffle grid systems previously. It would chnage the direction of our project. ISSUES WITH DIGITAL RUSTICATION • There was a total of 48 pattern iterations where each 10x10cm grid has over a thousand perforations which could cost thousands of dollars for the drill to mill (also taking around 4 hours to mill one iteration). How can you convey your ideas without using the CNC miller? • Since the job can not be done for Week 9, perhaps you can 3D model the rustications to convey the patterns visually. • A laser cutting job will also be sent in for the same reasons. How could you reduce the time and cost of the job? • Reduce the number of curves by using booleancurve in Rhino or by using RandomReduce in Grasshopper. • However, even after doing this and by deleting the really small curves that couldn’t be milled, we were still left with hundreds of curves. It was difficult to reduce the number of curves while still maintaining the original pattern from using Image Sampler.

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WEEK 9 CNC CONSULTATION ISSUES WITH RUSTICATION • The size and shape for our new patterns will cause problems for the drill. The drill sizes are too thick for the patterns and would not produce a define outcome that would reveal our patterning well • We eneded up going with the V mill bit at 12.7 diameter going in 2mm deep. This was the thinnest drilling option for our patterns. Why are we sending in an octogonal form if the purpose is just to demonstrate patterning? • The shape will increase cost and require additional fabrication in the workshop to get the exact angle for each panel. • A more effective method that achieves the same thing would be to cut a 3mm labinate from a sheet of wood in the workshop, then mill out our rustications using the CNC miller. As a result, the thin sheets with the pattterning on them can now be bent and twisted into a cylindrical shape. Steam bending could assist in this process. Further surface rustications can also be applied by sand blasting the sheets. • Our original octogonal job has been sent at the end of our consultation. In addition, after our Level 2 inductions we wish to experiment with the 3mm laminate suggested by Darcy. SUGGESTIONS FOR FORM • Revisit the grid shell system. • If creating massing is a concern, an option can be to CNC a mould, then fill it with a slurry or rammed earth. However, this would need research into a new unfamiliar research field. GENERAL ISSUES • The nature of our form and rustication would produce lots of material waste. • Even if the project was funded, think further about how you can reduce the embodied energy and material cost. • Is your design economical? Does it support the theories established in Part C? Currently, our design progression does not seem to support design futuring which should be a concern considering the breif as well. Our design should be economically friendly and sustainable to our client. • Looking at an additive construction method for our 1:1 animal habitat, as opposed to a subtractive medthod (CNC) would be more viable as it would reduce material waste, project cost and fabrication time. 143

Another form of formal exploration we attempted was sandblasting. By observing our photographs from the site visit, we noticed that the surfaces and curves in the timber logs were very rugged and not contrived at all, so we wanted to create some prototypes that are closer to this idea. We sourced timber slats from Bunnings and used the sandblasting facilities at the FabLab to create a natural looking effect in the timber. By blasting air into the timber, the natural fibres become more apparent, creating a natural curved, textured effect that already exists within the grain. Although this technique creates a very organic effect that is very close to the natural product, we did find that it created lots of moisture in the timber which left black marks and holes. Nevertheless, this is not an issue for us. We believe that this technique is the best in comparison to the others we have explored, as it creates the most natural-looking outcome. We will use this technique for the production of our final design.

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C3 - final detailed model

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Now that we have established that we will be using sandblasting as our constrcution technique, it is vital to develop a final form. To develop our form, we have decided to take a different approach to what we have done previously in this process. We observed the physical linework of a chart that documented Melbourneâ&#x20AC;&#x2122;s annual rainfall between 1983-2017 (image below) and took note of the way the lines rise and fall horizontally and diagonally.

Image source: Bureau of Meteorology, http://www.bom.gov.au/

By looking at this chart, we found similarities between this visual representation and the lines that can be found inside a log. In the same way that rainfall has fluctuated over time creating visual dips and peaks in the chart, logs have physical dips and peaks that combine together to created their textured appearance.

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In order to use this information and visual product to create our own form, we took the yearly data from the chart and used it as a parameters for the creation of our own linework and gap widths. Using Rhino, we created curved linework with dips and peaks which represent the textured form of the logs we observed at the site visit. The dips represent the dark, deep environments found within logs, and the peaks represent the lighter, more open gaps within them. Within these spaces, spiders can create their webs, rest, shelter from weather and catch prey.

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Using the rainfall data system of form development, we developed a pseudo code for the purpose of imagining how we would create a final form without technological assistance. In doign this, we also developed out design concept by forming the linework into panels and wedges that could be connected together to create a whole form.

PSEUDO CODE FOR RAINFALL DATA

PSEUDO CODE FOR WEDGE SYSTEM

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SAND BLASTING prototype with formal concept In order to test our formal development concept with our chosen sandblasting technique, we produced this prototype (images below). Our concept of creating dips and peaks was realised through manually creating these forms with a jigsaw on a panel of timber and then sandblasting to create the horizontal linear texture. We believe this formal concept and technique work together very successfully to create a component that could be used as a hypothetical habitat for a spider, with its small gaps and indentations.

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development of final form

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Taking what we had developed in this technical and material prototype, we further developed a form in Rhino which we will use as our final design outcome. We created this using the idea of the dips and peaks from the formal development excerise, the idea of rustication to create the natural look of a logâ&#x20AC;&#x2122;s interior throughout the prototype proecss and the layering effect we developed also in this process.

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Using Rhino, we developed a construction system for our final form. First we will create a freehand cut panel of dips and peaks which will be glues to a series of five straight panels. This will be replicated 18 times, and the panels will be connected together with wedges between them. Then a stencial will be added with a log-type pattern which will be sandblasted into the faces of all the panels. Essentially, this form will represent a log once assembled.

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Once constructed, our component has the potential to not only be a hypothetical habitat for a spider, but can be used as a functional seat or as a facade/wall system for human use or it could act as a form in which other land/air insects can inhabit.

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Now that we have our final form decided, we decided to investigate materials. Went to Bunnings to do some research on different types of timbers. Through our research, we learnt that untreated softwood is perfect for sandblasting and construction as it has a strong grain. In comparison, we discovered that treated pine, when cut, releases toxic fumes which are dangerous when omitted.

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Our final decision was to use MGPT STRUCTURAL PINE timber panels with dimensions of 90 x 45 x 3000mm.

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Taking our final form and selected material, we began the construction process. We cut out 3000mm panels into 4 smaller panels. We then drew a freehand form guided by our Rhino model onto the timber slats and then cut them using a jigsaw.

We then sanded the edges to create a smooth finish using various sanders.

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We then glued the sanded panels together using a strong wood glue, and then clamped them together to ensure they would dry in a durable manner.

Finally, we nailed the edges of the panels together to ensure extra durability.

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In order to create the natural effects of the inside of a log like those we observed at Brimbank Park, we decided that we would create a stencil that we can sandblast into our glued timber panels. We did this by developing 18 panel shapes on Rhino:

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We then had the 18 stencil shapes laser cut onto steel sheeting to create stencils which were then attached to the timber panels that we constructed.

The below image shows the parts of the stencil that were not used and were removed from the center of each stencil.

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Given time constraints (the FabLab was unable to get our job done in time for submission) and cost constraints (it would have cost us too much to do at the FabLab), we decided to outsource the sandblasting process of our stencils onto our timber panels. We outsourced this process to Ublast in Hallam, who specialise in sandblasting.

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The following is a breakdown of the costs for the panelling process: (Calculations by Ariane)

Variable (Yr) Depends on the Yearly Rainfall Data Every second value in a list of 35 years is culled

Variables Lis t 0.9mm 0.9mm

1.8mm 1.8mm 1.8mm 1.8mm 1.8mm 1.8mm

2.7mm 2.7mm

3.6mm 3.6mm 3.6mm 3.6mm 3.6mm

4.5mm 4.5mm 4.5mm 4.5mm 4.5mm

Wood Calcula tions

cost Calcula tions

4.5mm x 6 Panels 4.5mm x 6 Panels 4.5mm x 6 Panels 3.6mm 3.6mm 3.6mm 3.6mm 3.6mm

+ + + + +

12 Pieces x $12.89 = 154.68

0.9mm x 6 Panels 0.9mm x 6 Panels (0.9 as excess) x 6 Panels (0.9 as excess) x 6 Panels (0.9 as excess) x 6 Panels

2.7mm + 1.8mm x 6 Panels 2.7mm + 1.8mm x 6 Panels 1.8mm + 1.8mm + (0.9 as excess) x 6 Panels 1.8mm + 1.8mm + (0.9 as excess) x 6 Panels = 12 Panels needed altogether

Panels Tota l Value: 166

Plus, an additional fee of $2 per cut to 1200mm. The machine can fit 3 pieces at a time and the first two cuts were free. 12/3 = 4 times x 2 = 8 cuts - - -> 2 from 3600/1200 = 2 cuts per timber 8 cuts - 2 free cuts = 6 cuts 6 x $2 per cut = $12

$154.68 + $12.00 =

$166.68

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The following is a breakdown of the costs for the wedging process: (Calculations by Ariane)

Variable (YrW) Depends on the Yearly Rainfall Data The culled data determines the wedging widths

Variables Lis t 0.9mm 0.9mm

1.8mm 1.8mm 1.8mm 1.8mm 1.8mm

2.7mm 2.7mm 2.7mm 2.7mm

3.6mm 3.6mm 3.6mm 3.6mm 3.6mm

Wood Calcula tions

cost Calcul ations

4.5mm x 4 Units 4.5mm x 4 Units 3.6mm 3.6mm 3.6mm 3.6mm 3.6mm

+ + + + +

0.9mm x 4 Units (0.9 as excess) x (0.9 as excess) x (0.9 as excess) x (0.9 as excess) x

2.7mm 2.7mm 2.7mm 2.7mm

+ + + +

1.8mm 1.8mm 1.8mm 1.8mm

x x x x

4 4 4 4

Units Units Units Units

1.8mm + (1.8mm as excess) + (0.9 as excess) x 4 Units = 4 Units per measurement x 12 lines = 48

Panels Tota l Value:

4.5mm 4.5mm

Technically, we can cut out all 48 unit pieces out of one single piece of timber, but during our testing stage of researching fixtures, that wood would almost snap into pieces around 25-50% of the time, so therefore the smart thing to do was to have an extra 3 pieces per wedge. 1 Wedges + 3 pieces = 4 units 48 x 4 = 192 Units In this case, we bought 4 pieces of timber. 4 x 12.98 = $51.56

$51.56 + $4 Cut Cost to 1200mm =

$55.56 167

Once our panels has been sandblasted with the log-textured stencil, we decided that we would assemble the panels together to produce the final component on site on a private residence in Cold Stream. We selected this location because we wanted our component to be able to interact with undisturbed natural surroundings, which would allow for potential inhabitants (in particular, the spider) to make a home. We agreed that we will revisit the component in 6 months to see if we have been successful in our attempt to construct a man-made habitat.

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C4 - learning objectives and outcomes Prior to undertaking Part C our group had many different ideas about how natural elements (like trees, bark, sticks and other similar elements) can be mimiced through technological fabrication. However, through much experimentation and exploration with techniques such as kerfing, CNC milling, laser cutting and sandblasting, and digital processes such as sampling and artificial rustification, we have come to agree that a natural form can be achieved with the aim of creating a man-made habitat. By collecting data and conducting research on site, as well as having a hypothetical client to design for, I believe that our group achieved our aim of fabricating a component that has multiple uses. We worked very well as a team and it was a great experience to assist eachother in developing our skill sets. In relation to the learning objectives of this subject, I believe the process of design throughout Part C has provided the opportunity to interrogate a brief (Objective 1), in order to develop a variety of design possibilities through visual programming, algorithmic design and parametric modelling (Objective 2). Throughout this process, I feel as though I have developed skills in threedimensional media including computational geometry, parametric modelling, analytic diagramming and digital fabrication (Objective 3). I have gained an understanding of and appreciation for the concept of â&#x20AC;&#x153;architecture and airâ&#x20AC;? through the relationship between digital and physical modelling (Objective 4). Developing the skills of promoting my ideas and making a case for my proposals is something that I have undertaken, and through this I have used critical thinking informed by contemporary architectural discourse (Objective 5). I have developed capabilities for conceptual, technical and design analyses of contemporaryarchitectural projects (Objective 6) and I now have a sound understanding of computational geometry, data structures and types of programming (Objective 7). In relation to the learning outcomes of this subject, this project has assisted me personally in developing the ability to create, manipulate and design using parametric modelling software. Having undertaken this project from its initial stages, I have gained the creativity to design tectonic assemblies using computational methods that I did not have the ability to achieve before. I have developed a new set of skills particularly in my use of Rhino and Grasshopper after having undertaken this subject, and I believe these skills will be incredibly beneficial throughout my further studies.

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